Sem título
Sem título
+
to-see-clearly:

Lophophora williamsii
Watercolor on paper
Private collection
Donna Torres
+
nevver:

Anatomically correct, Aitch
nevver:

Anatomically correct, Aitch
nevver:

Anatomically correct, Aitch
nevver:

Anatomically correct, Aitch
nevver:

Anatomically correct, Aitch
nevver:

Anatomically correct, Aitch
nevver:

Anatomically correct, Aitch
nevver:

Anatomically correct, Aitch
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jordanelse:

From Histoire naturelle des dorades de la Chine, Edme Billardon-Sauvigny,1780. 
https://archive.org/details/histoirenaturell00bill
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darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
darksilenceinsuburbia:

Katharina Roters
From Hungarian Cubes
In Hungarian Cubes, Roters documents those countryside row houses during Kádár’s reign, after residents started freewheeling with colors and shapes to make it so no two houses looked like. Roters noticed the painted “Magyar Kocka”, or Hungarian Cube, houses in 2003 after moving from Germany to a small Hungarian town. Some of the homes have trompe l’oeil paintings around the window, like facsimiles of shutters or trimming. Others look like abstracted images of sun rays, or harvested crops.
“Today you can buy a car you like, you can do everything you like. In this uniform world where people were not allowed to have some individuality, you had to wait for the same car as your neighbor,” Roters says. “The facade is what I can show to the outside to the world. This was a free space at this time where the people can show and express their individuality.”
Roters has spent years photographing the Magyar Kocka houses. She’s met some of the original owners, but also is watching as the Cube houses undergo renovations and new paint jobs. “The intellectual elite in Hungary they hate the kind of housing and the period and the ornamental decoration,” Roters says. InHungarian Cubes, she writes: “In the eyes of the rural population, these houses are simply no longer up-to-date and are therefore…these witnesses to a way of life are slowly but surely disappearing.” The houses are a relic of some rare individualism during a time of homogeneous, community-centric thinking. (by Margaret Rhodes)
Hungarian Cubes is available here, through Park Books.
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gallowhill:

Kunihiko Hayakawa
+
+
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
asylum-art:

Stitch Work by Hillary Fayle
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+
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blackgoldgirl:

flourishtodecay:

daisy-drain:

no-protocol:

graphiic:

rookiekid:

seulray:

stampdesigns:

Korea postage stamp: bird and pink sky
c. 1959 
"Christmas and New Year’s Greeting for 1960" designed by Kang Bak